📄 Transcript [show]
Step up if you want to get hurt Get hurt Get hurt What's up?
Los Angeles and beyond This is Neighborhood Love Radio We're the musical extension of neighborhood-love.com A website devoted to street culture, music, food, fashion, etc So now you've got a couple of really special guests International artist Jennifer Corison Say hi Hello Hi And equally international and dashing Mr. Scepterhead What's going on dude?
Hey man, how's it going?
Good, good We're going to talk a little bit about We're going to talk about street culture and art And creating art on the street Level and concept And probably talk about tacos All the good things Thanks so much for coming down Also I've got music, loved ones I've got music, brand new music from Monophonics I've got music from Black Milk Bobby Womack The Rebirth from Los Angeles African Music Machine All kinds of stuff I'm going to start you off with Holly Cook I'm going to start you off with Holly Cook The tune The tune is Milk and Honey from the Holly Cook Eponymously titled LP Holly Cook Out on Mr. Bongo Worldwide It's produced by Prince Fatty I'm going to follow that up with Stephanie McKay With Tell It Like It Is And we'll take a couple twists after that Thank you so much loved ones My name is Johnny Scott Gramercy Your host and selector Neighborhood Love Radio Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop Shop!!
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Yeah.
We started off the set with lack of afro.
Step up if you want to get heard.
And then after that, Holly Cook, Milk and Honey is the name of that tune.
Produced by Prince Fatty.
After that, Stephanie McKay, Tell It Like It Is.
Representing Brooklyn.
Some Brooklyn neighborhood love from Stephanie McKay.
That was produced by Portishead's Jeff Barrow.
And you can find that on the Astral Works label.
From Brooklyn all the way down to New Orleans, Louisiana.
And African Music Machine was the last tune you heard.
Mr. Brown is the name of that tune.
From the Blackwater Gold record, 1972.
Originally, I think that was originally a single, 1972.
But they put out a few records, put out the LP a little bit later on.
So you could find their whole musical library on that one.
African Music Machine.
That brings us right up to present time.
Right here, right now.
You and me.
And I'm also here with Scepterhead and Jennifer Corson.
Hello.
LA is an art world power couple.
Yeah.
Yeah, let's turn it into that.
Let's start on a personal note.
Where did you guys meet?
Right down the street.
Yeah.
We met on the street.
On 5th Street.
Yeah.
Yeah, 5th and Main.
At an event?
No.
You were setting up your show, right?
Yeah, I just closed up the gallery.
Hanging my solo.
I was like, I'm gonna do a solo show.
And yeah, start talking to me.
Yeah, I was coming back from the gym, believe it or not.
And I noticed that she was an artist.
And I'd been watching the setup for a couple of days, going back and forth.
Because I live right around the corner.
And I wanted to know if she was a street artist.
So I interrogated her there on the street.
Told her I would go to her show, which I did.
But I only stayed for a little bit.
Because that's just the way I am.
Nothing personal.
I was just scared.
I was scared, yeah.
But, you know, we started painting together, hanging out.
Talking every once in a while.
Going through some mad drama of our own in each of our lives.
And eventually she became a street artist.
And things were pretty much green light from there on.
That's his qualification.
Street artist.
Working on a...
Do you guys collaborate a lot?
We have.
We're generally...
We're slowly figuring that out.
I think everybody has a different set of skills.
And to get them to work harmoniously together on a good level is...
It takes a little bit of time.
Definitely.
We painted a huge wall together.
The wall was insane.
It was a nightmare.
But we finished it.
And it looks cool.
Because what I noticed about your mutual works are...
And you can tell me if I'm off base in the creation, but it's still what I observe.
So, you know, that's how art works.
You know what I mean?
Yeah.
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
What more do you want to share?
Lines, to me anyway, may not be what you're going for, but to me they kind of look like sort of muscle fibers and things.
Yeah.
And the way they wrap around arms and first of all, there's always like arms or heads or something.
Yeah.
And so there seems to be a lot of ground for collaboration there.
Yeah, I mean, we just draw what we know.
You know, I mean, I think a very popular topic, at least from my mind, is to try to, I think this has been said somewhere else before, but art is what feelings look like.
If that's the thing, I think it is.
But definitely with my work and I think a lot of Jennifer's work is the connotation of the physical world metaphorically in the visual world.
So we're basically taking things that we feel and trying to make them become something that you can see and put a label on instead of like, I feel sad.
That looks sad or that looks happy, you know.
I want to make sure to mention, we'll be talking a little bit more, but I want to make sure the loved ones out there know that.
Yeah.
If you want to see some of the work we're talking about, you can check out Scepterhead's work on his Instagram.
Probably has the biggest body of work.
S-E-P-T-E-R-H-E-D.
You'll find him on Instagram and also the old Facebook machine.
Jennifer Corson also has Instagram, humansmakeart.
Correct.
Yeah, and also you can find her website, humansmakeart.com.
And you'll see a picture of the lovely international artist, Jennifer Corson.
In my eyes.
I'll be mentioning those.
I'll be mentioning those sites later on.
But so we talked a little bit about how you guys met and stuff.
I am curious about this.
I want to harp on relationship stuff.
But can you tell me that maybe your productivity, well, not productivity, but your work has changed since being in a relationship?
I know that mine has definitely, but I'm going to let Jennifer answer this question because I just did.
Well, our work habits are exact opposite.
What makes it to the page or the wall?
I mean, for collaboration, it's really a time issue.
We are both so busy with individual stuff that just having the time to sit down and put work into collaborating is really hard to find.
I mean, thematically.
Oh, yeah.
I mean, and we like doodle together all the time and like work in the same space.
Whoa, whoa, whoa.
Come on.
But yeah, I think we push each other because we're complete opposites.
Whoa, whoa, whoa.
Yeah, I get I see what she's doing all the time and I get really jealous and I'm hoping it's mutual.
It is.
But mutual jealousy is important.
Yeah, the character of my work has changed a lot from razor blades cutting their wrist with humans to like more pleasant, positive things.
You know, there's a lot of sarcastic twists in there, but definitely it's changed on the positive for sure.
I want to play a band for you guys.
We're going to come back and talk a little bit.
This is a band then that.
They're getting some notoriety, man, but not enough.
They're from L.A.
They're called Rebirth.
And they got a brand new record.
Well, sort of newish.
Is that a little bit earlier this year?
The record's called Being Through the Eyes of a Child.
I want to play a tune for you guys called Caterpillar.
That's on the Walk Talking record label.
And it's just a stellar LP.
I mean, the whole the whole thing.
And I'm going to follow that up with the.
The one and only Paul Weller.
And little Rufus.
After that, I think it's a good vibe set.
Yeah.
Thank you so much, loved ones.
And Scepterhead, Jennifer Corson, stick around.
We're going to talk a little bit more later.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
We'll be right back.
Will I be around?
Running high, running high I catch the sun and you get high Running high, running high I catch the sun and you get high Running high, running high I catch the sun and you get high I catch the sun and you get high I will love you anyway Even if you cannot stay I think you are the one for me Here is where you ought to be I just want to satisfy Though you're not mine I can't deny it Don't you hear me talking, baby Love me now, I'll go crazy Oh, sweet thing I'll go crazy Oh, you know you're my everything Oh, sweet thing Oh, you know you're my everything Yes, baby I wish you were my lover But you act so undercover I wish you were my lover But you act so undercover To love you drive my heart out long Be it right or be it wrong I'm only what you make me, baby Don't walk away, don't be so shady Don't want your mind, don't want your money These words I say, they may sound funny But oh, oh, sweet thing Oh, you know you're my everything Oh, sweet thing Oh, sweet thing Oh, sweet thing Oh, sweet thing Oh, sweet thing Oh, sweet thing You are my fire.
You make me weak with strong desire.
To love you child my whole life long.
Be it right or be it wrong.
I just want to satisfy you.
Though you're not mine, I can't deny you.
Don't you hear me talking, baby?
Love me now.
All the heat, all the fire.
You're not mine, I can't deny it.
Don't you hear me talking, baby?
Love me now or I go crazy.
All the heat, all the fire.
You're not mine, I can't deny it.
Don't you hear me talking, baby?
Love me now or I go crazy.
All the heat, all the fire.
You're not mine, I can't deny it.
Don't you hear me talking, baby?
Love me now or I go crazy.
You're my beat to all of mine You're not mine, can't deny Rufus featuring Chaka Khan.
Sweet Thing is the name of that tune.
That was what me and my lady did our first dance to at our wedding.
Before that we heard the incredible, incomparable Paul Weller, Above the Clouds.
And we started off the set with Caterpillar by the band Rebirth.
The album is called Being Through the Eyes of a Child.
That's on the Walk, Talk, and Record label.
Rebirth is the name of the band.
So I'm sitting here with Septa Head and Jennifer.
Hey.
Hey.
Hello.
Jennifer, we were sort of chit-chatting a little bit about how your work had changed maybe in the last six months or so.
What do you think?
What do you got going on right now?
Let's try this.
What's currently coming out of you?
Not necessarily subject matter, but as far as expression stuff.
I mean, I always have so many projects going on and I'm always behind on them.
I mean, thematically.
Oh, thematically.
I mean, I've been doing stuff other than anatomy.
Well, actually, that's not true.
But other than hearts.
I painted a bus.
I painted a bus recently.
I'm going to be finishing it Monday.
It's pretty awesome.
It's probably my favorite thing I've ever done.
And it's a monster.
You did the whole bus?
Yeah, the whole bus.
Boot to bonnet?
Yep.
And it was a ton of fun.
It's at Imperial Art Studios and this band, Lonely Parasite Traveling Circus, they're called.
Okay.
They're touring in it.
And it's really cool.
It was really fun.
It was challenging and no hearts.
Yeah.
So did you have fun with it?
Like, as far as like going on?
Or kind of a psychedelic sort of level with it?
I just turned the whole thing into a big monster.
That qualifies?
Yeah, totally.
Psychedelic monster.
The eyeballs.
It's offensive.
It's got a little bit of a Hot Rod Daddy Roth vibe to it.
I gotcha.
Okay.
The eyeballs melting and the tongue wagging.
Von Dutch.
Yeah.
Okay.
It's got some movement.
Yeah.
Do you have a history?
Do either one of you or both of you have a history of like?
Like psychedelic drugs, psychotropic stuff?
Fuck yeah, dude.
I'm not going to comment on that.
35 times I've done acid.
12 times I did shrimp.
Okay.
And you just have a number.
I wrote down all the different kinds.
Yeah.
As a journalist.
I'm going to go ahead and guess it's been quite a while though, right?
Yeah.
I haven't done acid for at least 12 years.
Has any of that...
I already know the answer.
How much of that experience though makes it weigh in?
I think it's kind of seeing things a certain way and thereby expressing yourself in a certain way.
Both of you.
I think your brain, whatever state it's in, is constantly telling you like what to push and what to express and to try and stuff.
I don't know.
We were neighbors, you know?
Yeah.
I don't know, man.
Like I think drugs have their purpose, but as much as I'd like to think all the cool stuff I did when I was tripping was cool, the reality is that it was not cool.
Mm-hmm.
Like I look at it now and it's terrible.
Right.
And the fact that I have a clear mind now and that I'm completely sober and I do weirder and way cooler shit, like just makes me feel like the brain already has all of that in there.
Yeah.
You just have to know what it is.
I can't disagree with that.
My only personal thing is like I think, and it might have happened anyway, was it was...
You know, because that's how it works.
It confuses your brain.
Like color.
Yeah.
Colors versus...
You hear colors and see sounds.
Everything's amazing.
Everything you output is like the most genius thing you've ever done.
It's going to solve everybody's problems.
Mostly proud of everything you do.
But I did like what I did back in the day, you know, as far as drawings and things like that.
And it definitely influences what I do now.
If any kind of visual arts, you know, definitely wouldn't...
I can pretty much say wouldn't have been the same if I had been a professional artist.
Yeah.
I mean, I think that's what I'm trying to do.
I think that's what I'm trying to do.
I think that's what I'm trying to do.
I think that's what I'm trying to do.
I think that's what I'm trying to do.
I think that's what I'm trying to do.
But rather than rather than rather than rather than rather than rather than rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather rather and that's just as far as productivity and being able to focus on one thing.
What did you guys listen to back in those times, the psychedelic times?
Slayer.
Yeah.
American Rejects.
I listened to really terrible music.
I was really into the dead and stuff when I was in high school and a lot of classic rock and stuff and then I got into that like, a lot of like trance and stuff that now would like, just really upset my brain.
You know, a lot of, when I was sort of doing that stuff, I was mostly hanging out with like, death rockers at the time.
I never looked apart, you know, ever.
But for a while there, those were my friends, you know?
Yeah.
And so when it came time for like, Acid and other things like that, you know, all my friends were going off and listening to like, Alien Sex Fiends, Skinny Puppy, and all that.
Yeah, Skinny Puppy.
Seasons in the Abyss on Acid in a field.
But it wasn't for me.
I bought the Alien Sex Fiend tape because I liked the name.
I do like them.
And I thought it was cool.
Well, I do like them, actually.
I still listen to them sometimes.
But, you know, as far as like, I want to trip out, dude, straight up, 70s psychedelic soul.
And I'm not saying that just because I do a soul and funk music program.
Like, you close your eyes when you're tripping out and you listen to Sly or James Brown or something and there's this whole weird chicken orchestra that goes on in your head.
You know, and it made its way onto paper.
And I actually did like the stuff that I did back then.
Me and my buddy had this business where people would give us like 20 bucks and their leather jacket and we would paint the back of their leather jacket for them.
You're a good painter.
I have one of your paintings.
I have two of your paintings.
Oh, yeah, yeah.
Cool, thank you.
And it did make its way onto stuff like that.
And actually, I kind of dig it.
I wouldn't call it quality per se, but I liked it, if that makes sense.
But really, the question was more about like how do you think I don't know, man.
I don't want to be all like, you know, if anything changed, the quality of work would be different.
But it's true.
I mean, if the psychedelics weren't there, would your work still be the same, do you think?
I wouldn't.
Nothing would be the same.
I think whatever happened made me who I am now.
You know, there's no other course of action that could have been taken.
And I'd like to think that there's been some changes as far as my artistic vision and like how I do things.
But having lived two lives, doing the job, doing the drugs and then not doing the drugs, like I have, you know, it's been an amazing trip.
And I'm grateful to be here, but I'll never forget some of those times or the music or, you know, any of the things that came out of it.
Well, we've got about two and a half minutes left.
What can the loved ones be looking forward to as far as Jennifer Corson has set their head in the very near future?
You guys are doing mostly public work right now, right?
Yeah, a lot of street art.
We're painting all weekend.
We're collabing twice.
Yeah.
Saturday over by the Gaba Gallery off Beverly Hills.
And then Sunday, we're doing a meat market wall off 52nd and Avalon.
Meat market wall.
Yeah.
Vintage.
Very briefly, run me through that.
It's in between a severed bowl, which I painted, and a Lady Guadalupe, which I have no idea who painted, but the wall's been getting hit.
Not my stuff.
Okay.
Thank God.
But she's going to go in there and paint some guts.
Some cow meat market stuff.
Yeah.
If the neighborhood will allow us.
Never really know where to paint.
We're going to go over there.
And then we don't know we're painting Saturday.
We're going to fight about that tonight, probably.
Totally.
But I'm sure the loved ones can go back and see what's going on at that project and other projects if they go on your mutual Instagrams.
Almost every weekend we're painting somewhere.
Yeah.
Art, art, art.
Check out Instagram at humansmakeart, right?
Yes.
And Instagram for Scepterhead at Scepterhead and I'll spell that out for you loved ones.
S-E-P-T-E-R-H-E-D.
Also, they have their websites and stuff.
If you Google their names.
Google me, bro.
Yeah.
Google me, bro.
You guys hanging out for a little bit?
You want to hear some more music?
Yes.
Let me see what I got coming up.
Cueed up.
Oh, Monophonics.
Bay Area, soon to be Bay Area Legends.
They put out a new record out yesterday called Sounds of Sinning.
Sounds of Sinning.
We're going to play Promises, one of the cuts off of that.
It's out now.
Check out Monophonics at monophonics.com.
You can also find it on the old iTunes.
They're playing pretty soon.
Saturday, May 9th at the Mint.
Monophonics.
You're going to love them.
After that, I'm going to play Brownout.
Some neighborhood love from Austin, Texas from Brownout.
They're an eight-piece band.
Chaffa Khan.
Not Chaka, but Chaffa Khan.
Off of the...
I'm going to try to pronounce this name.
Pamanaje.
Pamanaje.
Pamanaje.
Is it supposed to be in Spanish?
Yeah.
Homage.
Pamanaje.
Yeah, that's as good as I have.
Thank you.
That's that on Freestyle Records and then I'm going to follow that up with Black Milk, One for Damn.
We'll wrap it up with a classic chestnut from Mr. Bobby Womack.
But first up, the one and only Monophonics from the Bay Area, Promises.
Enjoy, loved ones.
We'll be right back.
I knew a man Who lied to the world He'd thrown the truth Lived a life with no rules I knew a man He lied to himself Scared of reality Scared to have to fall out And he made promises But they were all just lies And he broke promises Bringing tears to their eyes And he made promises But they were all just lies That he could never ever keep Breaking his promises Leaving broken hearts to weep I had a friend Who had big dreams Took on the world But soon turned to schemes I had a friend Who he became a stranger To the world And he became a stranger To the world And he became more More more But they were all just lies And he broke the promises Bringing tears to their eyes And he made promises That he could never ever keep Breaking his promises Disappointment runs deep guitar solo And he made promises But they were all just lies And he broke the promises Bringing tears to their eyes And he made promises That he could never ever keep Breaking his promises And the bad love runs deep And he made promises But they were all just lies And he broke the promises Bringing tears to my eyes And he made promises That he could never ever keep Breaking his promises Disappointment runs deep guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo guitar solo Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Thank you.
Oh, baby Across a hundred and ten Street You can find it all In the street Yes, you can Oh, look around you Look around you Look around you Yeah Bobby Womack Across a hundred and ten Street Before that we heard Black Milk One for Damn Featuring Fat Ray That's from his Glitches in the Break Album out last year Prior to that Brown Out From Austin, Texas Chaffacon Was the name of that tune That's from The How do you say that name?
You did it way better Than I would have Ameh Omenaje Omenaje, yes That's out on Freestyle Records And we start off the set With the Cali Zone Monophonics From the album Out Now Sounds of Sitting You can find that On monophonics.com And also Find that on the Old iTunes there They're playing Saturday, May 9th At the Mint So I will see you there I'm going to be I'm going to wear My shark skin I don't believe you How many sharks Had to die for that?
You call me fat?
Love going Oh, thank you so much Jennifer Corson And Scepterhead Find them on Instagram Thanks so much For coming down And hanging out I hope to have You guys out soon And thank you so much Loved Ones I will see you next week Thank you for having us Thank you Bye, Loved Ones
